A Quote by Antonya Nelson

I want to earn a reader's capacity to be moved. — © Antonya Nelson
I want to earn a reader's capacity to be moved.
A piece of writing has to seduce the reader; it has to suspend disbelief and earn the reader's trust.
Clearly, there needs to be an increase in the capacity of the railway system. That's why there are these projections of increasing the capacity to carry freight on the railways by 30% over the next five years or so, because the volume of goods moved up and down, imports, exports, and within the country, has grown much larger than the capacity. And this is part of the higher costs to business, because charges, for instance, at the ports become too high and they put up the prices of these goods, whether they are imports or exports. You want to reduce that.
When you talk about a reader being emotionally moved, a feeling of empathy, I think that comes out of that line-by-line respect for reader. That's actually where it all comes from.
Probably, subliminally, I think of the reader as a kind of collaborator. I don't want to say something for the reader that the reader could have said for himself.
You may earn whatever money you earn as a cricketer, but you want to play for your country. At the end of the day, you want to do something special. There are plenty of people who earn 50 crores or 100 crores as businessmen or big professionals or who are really doing well in business. But what gives pleasure to your mom and dad is the fame.
Saul Bellow once said, 'A writer is a reader who has moved to emulation' — which I think is true. I just started writing and made that jump from reader to writer and learned how hard it was, but also how much fun it was — losing myself in these imaginary worlds.
A writer is a reader who is moved to emulation.
A writer is a reader moved to emulation.
Only a very specific kind of writer keeps their reader in mind while working. Such writers don't want to irk their readers; they don't want to challenge their readers; they want to produce exactly what their reader expects them to produce. I'm not like that.
If you want the reader to accept the premise as a given, then being specific is vital. This is what I'm after; I want the reader to accept the setting and the mindset of the characters, so we can get on with the story.
Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.
If you do a serious presidential bio, you want to supply the reader with maximum material because otherwise you're offending the reader. A president for many people is a serious thing and they want to know everything.
People would rather earn 60 grand in an area where their neighbours earn 40, than earn 80 in an area where their neighbours earn a hundred.
The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.
When you first come out of the box, you want to play the 300-capacity place, then it's 1,600-capacity, then it's an arena - so, do you want to be in a stadium now? The ego keeps telling you that it's not enough.
The idea that you earn things - that you earn respect, that you earn income, responsibility, the vote, punishment... these ideas are anathema to the liberal mind.
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